Java.March.2017

255 • MAR 2017
ANDREW BROWN • COURTNEY MARIE ANDREWS • PALM SPRINGS AL BEADLE

MARCH 3 | 6 – 10 PM
Nimaitachidō tōsei gusoku armor (detail). Attributed:
Myōchin Yoshimichi and Myōchin Munenori
Muromachi period, ca. 1400 (helmet bowl); mid Edo
period, 18th century (armor) Iron, shakudō, lacing,
silver, wood, gold, brocade, fur, bronze, brass, leather.
© The Ann & Gabriel Barbier-Mueller Museum, Dallas
Photo: Brad Flowers.
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ARMOR FROM THE ANN AND GABRIEL
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O N V I E W T H R O U G H J U L Y 1 6 , 2 0 17
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Chado Urasenke Tankokai of Arizona
+ Shakuhachi flute performances by
Yujin Soku-Shin of Ancient Sounds of Peace
+ Mini meditation sound baths by Gold Lion Healing Arts
+ Ikebana of Arizona installation
+ Suzuyuki-Kai Japanese dance performance
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CONTENTS
JAVA MAGAZINE
EDITOR & PUBLISHER
Robert Sentinery
ART DIRECTOR
Victor Vasquez
ARTS EDITOR
Amy L. Young
8
12
22
32
34
FEATURES
ANDREW BROWN
Signal to Noise
By Jack Cavanaugh
Cover: Andrew Brown
Photo by: Charles Darr
8 12 22
34
COURTNEY MARIE ANDREWS
Phoenix Expats Series
By Tom Reardon
AUTOGRAPH
Concept and Styling: Shimeon Mattox
Photos: Tajji Sharp
SUNDRESSED
A Little Less Put Together
By Mitchell L. Hillman
BEADLE RESURRECTION
Al Beadle New Build in Palm Springs
By Effie Bouras
COLUMNS
7
16
20
30
38
40
BUZZ
AZ Blooms
By Robert Sentinery
ARTS
Ad Prophets
The Propeller Group at PAM
By Demetrius Burns
“Abstraction in the Singular”
at Bentley Gallery
By Amy Young
FOOD FETISH
The Dressing Room
Micro Dining on Roosevelt Row
By Sloane Burwell
SOUNDS AROUND TOWN
By Mitchell L. Hillman
GIRL ON FARMER
Don’t Bat an Eye
By Celia Beresford
NIGHT GALLERY
Photos by Robert Sentinery
FOOD EDITOR
Sloane Burwell
MUSIC EDITOR
Mitchell L. Hillman
CONTRIBUTING WRITERS
Celia Beresford
Demetrius Burns
Jack Cavanaugh
Jenna Duncan
Tom Reardon
PROOFREADER
Patricia Sanders
CONTRIBUTING PHOTOGRAPHERS
Charles Darr
Tiffany Egbert
Tajji Sharp
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Java Magazine
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JAVA MAGAZINE
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email: javamag@cox.net
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4 JAVA
MAGAZINE

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AZ BLOOMS
By Robert Sentinery
BUZZ
This month JAVA takes a look at Arizona’s infl uence beyond its borders. Singer/
songwriter Courtney Marie Andrews was born and raised in Phoenix. Although
she wasn’t from a particularly musical family, she had a natural talent that
shined through as she sang along with her mom’s records. Her uncle sent her a
35-peso guitar from Mexico, and the rest is history.
Andrews is now living in Seattle, although she’s frequently in town visiting
friends and family. She has released a total of six solo albums. Her most recent,
Honest Life, came out at the end of last year and showcases stunning folkinfl
uenced vocals and finely honed songwriting. From her first feminist punk
band, started when she was just a tween, to her national acclaim as a modernday
folk singer, Andrews is true Phoenician to the core, despite now residing in
Seattle (see “Courtney Marie Andrews: Phoenix Expats Series,” p. 12).
Back in the mid ’90s, Andrew Brown founded a clothing company called
SoldierLeisure (now known as Sleisure). This closely coincided with the
founding of JAVA and led to several collaborations, including a cover graphic
for this magazine’s 100th edition. Over the next 10 or so years, Brown
immersed himself in the apparel industry and relocated to Los Angeles to
help run the G Star fashion brand. As sales director, he was responsible
for growing demand in Europe and Asia. Needless to say, Brown did a lot of
traveling and shook a lot of hands.
Despite his global lifestyle and many successes, Brown could no longer ignore
an inner voice that was calling. He felt the need to downsize, return to Phoenix
and start over as an artist. He has since painted some of our city’s most iconic
murals, including a remarkable two-story piece at the Westminster apartments
that depicts abstract tree rings, commemorating the building’s 100th anniversary.
Brown is currently co-launching a new community art spot called Megaphone
Space and continues to share his many talents (see “Andrew Brown: Signal to
Noise,” p. 8).
Finally, Al Beadle was one of Phoenix’s greatest architects. He passed away in
1998, but his influence is still felt today. Beadle was a self-proclaimed “Miesian”
(in reference to the pioneering modernist architect Mies van der Rohe), and
his refined glass and steel structures provide a stunning contrast to the rugged
desert terrain. Although Beadle has been gone for almost 20 years now, interest,
demand and prices for his work seem to be peaking.
While the bulk of Beadle’s practice was here in the Phoenix metro area, he did
do several projects in California, New Mexico and as far away as Chicago. Now,
Palm Springs is home to a new Beadle residence, built from plans pulled from
the Beadle archive. Builder Mike Yakovich and architect Lance O’Donnell have
come together to erect the first new Beadle in decades. This beautiful home,
now nearing completion, is set into the desert boulders like a sparkling jewel,
honoring the legacy of a true Phoenix master (see “Beadle Resurrection: An Al
Beadle New Build in Palm Springs,” p. 34).

Andrew Brown
By Jack Cavanaugh
8 JAVA
MAGAZINE

When I met Phoenix-based artist Andrew Brown recently for morning coffee, he relayed a story about a
meeting with executives from Imai, a smaller clothing company based in Tokyo, regarding licensing of
the Sleisure brand in Japan. Originally, Brown and a few other American artists were to meet the Imai
executives in Los Angeles, but in a moment of boldness, Brown requested that they come to Phoenix.
Brown said his thinking was, “If they’re serious about starting a Sleisure chapter, they should come to Phoenix.
This is where it was born back in the mid ’90s, and this is where it continues to grow.” After a brief tour of
Brown’s murals around the Valley, a visit to his studio for a few games of ping pong and a break at Windsor to
sign paperwork, the Imai group headed back to LA to meet with other artists. Almost immediately they sent a
message back to Brown, saying that they already missed Phoenix.
The contract Brown signed with Imai coincides with the 20th year of the Sleisure (aka Soldier Leisure) line.
Once a year, Brown will travel to Japan to paint a mural and host art classes with the community in Tokyo
or the Hiratsuka City area. This is all part of the business agreement, but its purpose extends beyond
generating revenue. It’s driven in large part by Brown’s desire to share and exchange ideas, as well as
maintain a human feel throughout the commercial process.
The Sleisure brand had its beginnings here in Phoenix as an outlet for Brown and his friends. The goal was to
find an accessible way to share his art with the public. “I knew that if I wanted to live a creative life, I’d
have to get away from the drawing table and interact with people through my work. Printing t-shirts was
a great way to do that, so I got a job with a screen printer and learned to do that.”
Over the years, the clothing line has remained a side business for Brown, while he now works full-time as
a muralist and painter in Phoenix, San Francisco, Brooklyn and other cities around the world. Known for his
bold colors, abstract and topographical shapes, top-view pieces, the iconic “happy man” and other original
content, Brown continually derives inspiration from everyday life, people and the natural world.
In the early days, his work was inspired by hip-hop shows and skateboard contests at Patriot’s Park (now
Cityscape), as well as punk rock, graffiti art in Phoenix, and his friends who gave Brown the urge to share his
art. “I had friends that were killing it in graffiti that were inspirational, and then I had friends who were taking
care of their parents, and that was inspirational.”
Today, Brown still looks for ideas in unlikely places.
While giving a mural tour in central Phoenix,
Brown relates a story that took place during his
involvement with the Let’s Be Better Humans project
sponsored by Downtown Phoenix, Inc. Brown had
been commissioned to paint a mural on a shipping
container on 1st Avenue in the parking lot of the
downtown YMCA.
During the initial phase of painting, a resident
of the YMCA approached Brown, asking what
he was doing. Brown replied with a simple, “I’m
painting a face.” During the conversation, Brown
befriended the man, a former construction worker
from Chicago, and snapped a picture intended for
Instagram. At the last minute, Brown decided that
the shape of the man’s eyes in the photo would
become the design for the mural.
Even though he stands out in a crowd (Brown is 6
6 tall), his casual approach to life is evident in his
daily interactions. His amicable nature keeps him
approachable, and he shows a sincere interest in
hearing other people’s stories. This relaxed, open
approach is balanced with a very strong sense
of accountability that makes Brown seem like he
spends less time thinking about what it means to
be an artist and more time thinking about what it
means to be human.
JAVA 9
MAGAZINE

“We can spend so much energy battling with the external world, going for just the
right look, fitting in with the right people and maintaining the right public image.
Real success for me is not about financial gain or even about being a public figure.
It’s about being fulfilled—and that would be the case even if I still had to work a
full-time job and art was just a hobby.”
Success in art has as many definitions as there are artists to achieve it.
For Brown, the most powerful art springs from a well-developed sense of
connection. Fulfillment comes from finding an internal space where new ideas
can sprout and flourish. This happens both during the time he spends drawing
and when he’s interacting with friends and fans of his work.
Brown also describes his transition to full-time artist as a slow and steady
process. “It doesn’t feel very natural to suddenly decide to switch. I was
able to just ease into it, so that I wasn’t front-loading it, and I stayed in
contact with myself. I knew that if I paid attention, I’d continually find out
what I needed to do next.”
The entire east wall of the Westminster apartment building on the corner of 2nd
Avenue and Roosevelt Street in downtown Phoenix is covered with shades of
greens, blues and grays in an evolving pattern. The broad, organic swoops fade
into digitized boxes along the two-story edifice. On top of the waves of green
lie one hundred concentric rings painted in red, gold and yellow—a psychedelic
version of the rings of a chopped tree.
The Westminster wall is one of Brown’s most recognizable murals in Phoenix,
and until recently it was visible from several blocks away. Now, a six-story
development obscures the view from anywhere except the alley between the
two buildings. Like most residents of downtown Phoenix who have been here
for some time, Brown’s daily life has been affected by the abrupt construction
and scenery changes taking place.
The need to keep a thriving arts community alive is more present than ever before,
and is more challenging than ever. Brown’s response to this is to be as proactive
as possible. He said, “I think the trick is just to stay focused and not let the noise
10 JAVA
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distract me. There is a lot more noise, but artists are the signal, and if the artists
stay focused, the signal will grow stronger.”
Another one of Brown’s responses to the changes in Phoenix comes in the form of
a new space set to open in March. What has functioned as Brown’s studio for the
past year will now open to the public as a community space geared toward visual
arts. It will also be available for private events. Megaphone Space, an uptown
gallery/community space tucked behind Hula’s Modern Tiki, is a collaboration
between Brown, Lani Hudson and Christian Adame.
Megaphone Space will serve as the venue for the Sleisure 20th anniversary
celebration on March 10, and will have its first art opening on March 18 with
“Saguaro Watching Us,” a collection of saguaro paintings by Brown. On April 21,
the second gallery show, entitled “Pattern Recognition,” will feature new works
by artist JJ Horner.
Megaphone will also host several art-related events, including free-drawing and
collage nights, which are designed to encourage newcomers and veteran artists
to become more involved with the community and the creative process. “We’re
coming to the point where people want something besides the gym. They want that
same exertion of power, but with some freedom to it. Creating art is an accessible
way to do that. You don’t even have to talk—just make that time functional and
powerful for you,” said Brown.
In times of upheaval, we are continually looking for ways to find balance in our
lives. Artists like Andrew Brown are providing options for rediscovering that
balance. “If you draw for ten minutes, you start to shed your default background
thinking,” he said. “Whether you’re shading circles, drawing squares or doing
something more abstract or gestural, the more you do it, the more you get in the space
where you’re expanding your time. You’re in ‘reality time’ and not clock time.”
For upcoming events at Megaphone, follow
@megaphonephx and @sleisure on Instagram, or go to www.soldierleisure.com.
Photos by Charles Darr
JAVA 11
MAGAZINE

Courtney
Marie
Andrews
By Tom Reardon
Photos by Tiffany Egbert
12 JAVA
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Singer/songwriter Courtney Marie Andrews is an expatriate
Phoenician, but not because of a lack of love for the Valley of
the Sun. The 26-year-old Scorpio was born here and raised all
around Phoenix, but she currently makes her home in the Seattle
area. After getting her start in the folk scene around town, Andrews has
built a solid career, releasing six solo albums and playing with artists like
Damien Jurado and Jimmy Eat World, as well as doing multiple national
and European tours. Andrews says she “loves the desert” and misses her
hometown, but is much too busy to say that she’s ready to move back home
after living outside of Phoenix for the past six years.
Most recently, Andrews released Honest Life (Mama Bird Recordings) in
August of 2016, and the record is nothing short of sublime. Tracks like “15
Highway Lines” and “Let the Good One Go” exude a timeless talent that
belies Andrews’ relative youth. They are reminiscent of Joni Mitchell and
Emmy Lou Harris yet at the same time remain uniquely her own. Currently,
Andrews is touring in Europe until mid-March in support of Honest Life. She
will return to the States for a few shows and then head home to Seattle.
We caught up with her a few weeks ago to talk about her career and her roots
in Phoenix.
Hi, how are you? Is this still a good time to chat?
It is. I’m just driving [and talking on the phone], which is technically illegal, but
I do it all the time.
Are you up in Washington?
I am, but I’m on the road to play in Oregon. It’s a classic Northwest day. It’s
cold and gray and gloomy.
We’re doing a series on expat Phoenicians. Tell me about your
connection to Phoenix.
I was born and raised in Phoenix. I grew up around 19th Avenue and Union
Hills. My mom moved around a lot when I was a kid. She bought our house
when I was 12, so I lived there for a long time.
Did you go to Barry Goldwater High School?
I did (laughs). I actually went to Barry Goldwater my freshman and sophomore
year, but I couldn’t handle it because I was too much of a weird kid. So I
went to the first performing arts school in the north part of the Valley, ACAA
[Arizona Conservatory for Arts and Academics]. It was for the artist and
slacker kids.
When did you pick up the guitar? When did you know you had to
do music?
I think in middle school. I’ve always sang, and I don’t really know where that
came from. My mother would put on musicals and I would sing along. My
uncle lived in Mexico and got my first guitar for 35 pesos. He sent it to my
mom, and I started playing it.
In middle school, I started a feminist punk band. Phoenix had such a huge
punk and metal hardcore scene before I started getting into indie and art.
When I was 12 or 13, I wasn’t aware of the [indie and art] scene yet. I think I
JAVA 13
MAGAZINE

Photo by Susy Sundborg
went to one of the first First Fridays. I started busking at those. I would put a little
amp out on the corner before it got all corporate.
What was the name of your middle school feminist punk band?
We were called Massacre in a Mini Skirt. We weren’t that serious. We practiced in
our parents’ houses and tried to record. We took a MySpace photo. We were working
really hard and writing songs. We just didn’t record them. We didn’t know how yet.
But you had a MySpace page.
(Laughs) The main legitimacy of the band was that I started writing songs. I
realized, shortly after the breakup of the band, that I needed to go to WalMart
and get a mic and record on that and a really shitty engineering program called
Planet Wave.
Did any of those songs make it on any of your records?
No, those songs are deep in the vault.
How old were you when your first record came out?
I was 17 when my first record [Urban Myths] came out.
What got you into the indie stuff?
Once I started using Planet Wave, they have a recording forum, and I started putting
my songs online. People said, “Your music sounds so folky,” and I always thought that
was music for older people. I didn’t even know what that term meant. I didn’t have a
musical family, and these were things I had to discover on my own. I started looking
into it and started finding artists like Elliott Smith and, at the time, Conor Oberst,
and was really into the Saddle Creek stuff and the indie underground world.
It made sense, transitionally, to listen to those indie artists because they had a
punk underground vibe. They didn’t use the mainstream pop world to get them
on tour. I started really, really liking artists like that. Then somebody gave me the
record Car Wheels on a Gravel Road by Lucinda Williams, and it ended up being the
only CD I had in my car. That record changed everything for me.
There are some people who do music or play in bands because they think it is
the cool thing to do. I think you’re the other kind of musician. You’d be playing
music tonight whether it was a gig somewhere in Oregon or your living room.
It’s an integral part of my life. I play music any time I can. I feel like when you’re
first discovering music, it is such an exciting time. There is nothing better than
finding a record that defines your soul. There is a transition that happens, and it
happened to me from punk into the music that really got to me, when I heard the
music that shaped me and my songwriting into craft. I always like to think of those
times as “college” for me. I didn’t go to college. I went on tour.
What was your first gig?
My actual first gig, I was thinking about it the other day, was at Fiddler’s Dream.
I think it is still open, actually. [It is—in Phoenix on East Glendale Road.] They do
folk shows there. They had an open mic where I got to play a couple of songs. It
was probably in 2003 or 2004, when I was 13 or 14.
14 JAVA
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When did you realize that music was really happening for you?
It took a while. I feel like I played all the time, and I loved it, but it was a few
years, when I was 16 or 17. I got to open some shows at Modified, and I put on a
few folk festivals that started doing well. I thought it was the greatest thing that
ever happened. I started having higher expectations and started doing it more, but
I would show up anywhere with my Behringer bass amp, plug in my guitar and my
vocal and just play for free.
I’m guessing you aren’t playing many shows for free anymore.
(Laughs) Yes, but I wasn’t doing it for the money back then. I had five or so good,
solid years where I was just able to play. I started doing it when I was so young
that I didn’t need to do it for the money. If I got paid $30 for a show, I would be
stoked. It’s funny how your views change on that.
You start doing it as your main source of income, and your expectations change.
As you grow up, your skill set gets better, so you should be getting paid more. You
put a lot of time into becoming a great musician. When I was 15, I should not have
been getting paid. I was not there yet.
It’s great that you had a welcoming scene here in Phoenix to hone your
craft. What was your first tour?
I was 17. I went on tour with a local songwriter named Bradley Cluff. (He goes
by Bradley & The Materials now.) I started making friends on MySpace with
musicians along the coast in L.A., San Francisco and Seattle. I asked Bradley if he
wanted to go on tour, and he wanted to do it. It was the best feeling in the entire
world. Every break I got from school, every chance I had, I was thinking about my
next record and my next tour. I haven’t stopped since.
What prompted you to leave Phoenix and move to the Northwest?
Like I said, I’ve made some really great friends, especially along the coast and up
here in Seattle. It got to the point that every time I came up here, I’d stay longer
and longer. I fell in love with it. I just wanted to explore and try something new. I
wanted to push myself and grow. It was about a month before I turned 21.
I’m assuming it’s been positive for you.
Oh yeah, I’ve cultivated some great friendships. My band is all from here, and I
love them to death. I’ve got a little community and life up here. I was doing a lot of
bartending at first, but I haven’t had to go back to that lately. There are things you
have to do to keep yourself afloat. It takes a lot of the right things happening at the
right time to make living off music possible.
Do you think you would ever come back to Phoenix full-time?
I spend quite a bit of time there because my whole family is there. I visit as often
as I can. Right now, I am in such a music “go, go, go” place, so I can’t imagine
where I’ll be for the next five years. I love to come visit, and I love to see friends
and family. I feel like it will always be my home, but I can’t really say that I’ll ever
move back there.
I love the Phoenix music scene. It is an integral part of me. I love that I was able to
watch the scene in Phoenix develop into what it is now. Every time I come home, I
am completely blown away by what it is now.
JAVA 15
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ARTS
AD PROPHETS
The Propeller Group at PAM
By Demetrius Burns
Historically, graffiti has diametrically opposed the
colonization of advertising. It surfaced in response
to the billboard advertisements spewing their
calculating messages throughout communities. To
suggest that someone could start off as a graffiti
artist and end up in advertising might seem like a
stretch. However, the Saigon-based collective The
Propeller Group (TPG) is made up of three former
graffiti artists (Tuan Andrew Nguyen, Matt Lucero
and Phunam) who have created an ad agency
doubling as an arts collective. They decided that the
best way to make an impact in the advertising world
was to infiltrate it.
TPG started in 2006 and incorporates the lexicon of
politics and advertising to make multimedia art that
creates dialogue about propaganda and power as it
relates specifically to the history and aftermath of
the Cold War. “I think the Cold War has always been
a psychological state that is inherent in the idea of
empire,” Nguyen said. “To bring it back to aesthetics,
it’s interesting to think about the different images
and iconography and symbols that have come out
of the Cold War. I think that’s what our work tries to
speak to.”
In 2011, TPG developed an advertising parody
entitled Television Commercial for Communism,
which was featured in the New Museum’s “The
Ungovernables” 2012 Triennial edition. In the
work, they wrestle with two seemingly warring
ideologies—communism and capitalism—in an
attempt to speak about the inherent propaganda
belied by both. “A lot of moments in the history of
advertising coincide very directly with the history
and development of communism throughout the 20th
century,” Nguyen said.
TPG opened its first survey exhibition, co-organized
by MCA Chicago, the Blaffer Art Museum at the
University of Houston, and Phoenix Art Museum, in
June 2016. TPG’s exhibition currently is up at the
Phoenix Art Museum, through May 14, and consists
of their multimedia and fine art projects of the last
five years.
One of their multimedia projects examines the AK-47
compared with the M-16. The former is a semiautomatic
rifle created by the Soviet Union during
the Vietnam War, and the latter is a rifle created by
the United States in response. The group saw a Civil
War exhibit that featured two collided bullets, and
they replicated it by shooting bullets in a gel block.
What resulted is a fine art piece that speaks to the
collusion of the Cold War and the warring ideologies
fraught within. Both nations consider these guns
as “weapons of peace,” which speaks to the way
propaganda enforces nationhood.
The Propeller Group has produced a film, The Living
Need Light, the Dead Need Music, that explores the
funerary elements of the South Vietnamese and of
New Orleans. They also have a video called The
Guerillas of Cu Chi, in which cameras are placed at
targets in a shooting range where tourists shoot guns
16 JAVA
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used in the Vietnam war. The video explores what it’s
like to be a guerilla or a U.S. soldier.
One anecdote that illustrates the heart of the project
occurred when the group was touring the Cu Chi
Tunnels near Saigon, used by the Viet Cong (allies
of North Vietnam) during the war. During the tour, a
British man asked the guide why they lost the war to
the United States. The tour guide responded that they
didn’t lose the war. It was an interesting, illuminating
moment for the group, as it spoke to the idea of
nation-branding and propaganda that happens in an
empire. “To fight off a colonial power like the United
States is something to be very proud of,” said Lucero.
“I think it’s an incredible achievement. For the tour
guide to say bluntly, ‘No, we didn’t lose’—I just take
that as a part of Vietnamese pride.”
“The young British or Australian tourist had no
concept of the history he was immersing himself in,”
said Nguyen. “How is it possible that someone raised
in this time period not understand the ramifications of
these relationships? In his mind, the tourist’s mind, he
thinks that Americans win every war. I think the tour
guide probably laughed it off. People often forget that
it was a civil war. North Vietnam was being backed
by the Russians and Chinese. South Vietnam was
being backed by the United States. The ideologies
and motivations became violently apparent. Vietnam
felt the brunt of that Cold War.”
In many ways, then, TPG looks to infiltrate this
space of nation-branding and create confusion or
mythologize that space. As Nguyen says, “Those
that can create meaning after prolonged moments of
confusion become prophets. Those that can’t become
artists.” And maybe, in some ways, TPG is doing a bit
of both: prophecy and artistry.
The Propeller Group
Through May 14
Phoenix Art Museum
Marshall, Hendler and Anderman Galleries
www.phxart.org
The Propeller Group, Untitled (Ox Head; The Living Need Light, The Dead Need
Music) (still), 2014. Water buffalo skull, gold leafing, and brass rings. Courtesy
of The Propeller Group and James Cohan, New York.
The Propeller Group, The AK-47 vs The M16, 2015. Fragments of AK-47 and
M16 bullets, ballistics gel. Courtesy of The Propeller Group and James Cohan,
New York.
The Propeller Group, The Living Need Light, The Dead Need Music (still), 2014.
Single-channel video (Color, 5.1 surround sound), 20 minutes. Courtesy of The
Propeller Group and James Cohan, New York.
The Propeller Group, Untitled (Snake; The Living Need Light, The Dead Need
Music) (still), 2014. Carved jackfruit wood with 24k gold fangs and brass
support. Courtesy of The Propeller Group and James Cohan, New York.
JAVA 17
MAGAZINE

“ABSTRACTION IN THE SINGULAR”
at Bentley Gallery
By Amy Young
Abstract art has always been polarizing. For some, its lack of direct
representational qualities is a deficit, while others see brilliance in its ambiguity.
Add in factors like intention and technique, and both of those stances seem
limited. Abstraction in the Singular, at Phoenix’s Bentley Gallery, curated by Dr.
Grant Vetter, makes an outstanding case against maintaining a limited purview of
abstract works.
Vetter’s show is so thoughtful it hurts. It’s as if it was geared only toward tearing
down staid, dismissive perceptions about abstract art. That could easily be part of
Vetter’s intention, but despite any initial mission, the outcome is spectacular.
More than 40 sizable paintings, predominately oils, by more than 25 artists
(local and national) are threaded by their collective abstract nature, but each
work is a force unto itself, using the others to form an impenetrable union yet
strong enough to stand alone. If you ever wanted to have a conversation about
abstract art, here’s a great opportunity. Whatever you end up thinking and
feeling, there’s a lot to discuss.
Bentley’s owner and namesake, Bentley Calverley, shares that take, so much
so that she offered Vetter a rare curatorial opportunity at her long-established
gallery. “Dr. Vetter was the perfect choice as our first guest curator,” she said.
“He has a different viewpoint than I, so collaborating on this exhibition seemed
like a wonderful opportunity that would enhance all involved. The presentation of
such diverse schools of abstraction is a reminder that art is ever evolving, and the
different styles force us to reassess our definition of abstract art.”
Kent Familton’s Double Dip uses just a few colors and shapes to exemplify the
twinship in curves and corners, and the subtle fluidity that can exist amid the two.
John Mills’ Formal Foibles is a solid, intriguing piece that reads like the aftereffects
of an ebullient brain explosion. A few bold paint colors and some graphite work
are contained partially, and undramatically, by fine lines that create a flower-like
result. The adage that we look for order in chaos comes to mind with this piece.
There are points in the painting that offer potential codification, but overall the
chaotic nature and the way it’s presented provide the real magic.
The angular constitution of California artist Joe Lloyd’s Spur is given depth
through both shaded and brightened areas. Rather than just enhancing the electric
colors that are prevalent, these touches bring all the angles to the forefront. A
deconstruction of shapes, the work allows a mesmerizing look at the coexistence of
these planes. It’s like getting a sneak peek at how every line competes for space.
18 JAVA
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Calverley also appreciates the mix of area-based and out-of-town artists. “The
artists Dr. Vetter curated into the exhibition may not be well known in Arizona,
although they have been on the L.A. art scene for many years. Some local artists
are also included whose work some people may recognize, but to others, it is an
initial introduction.”
Talking about bright colors in this exhibition is impossible without bringing
locally based painter Bill Dambrova’s BiOde into the mix. Not just popping with a
captivating light, his palette is so rich that it goes past a visual appeal to speak to
the other senses. His take on the internal human anatomy brings so much beauty
to something that is generally spoken about in more technical terms. That one
and his Coughing Up a Tongue are majestic, motion-filled rides for the eyes, taking
them on a weird and wonderful biological tour.
Maysha Mohamedi’s Christmas Beetle Pleasure Dome is a perfect example of when
less truly is more. Using just a few colors and a significantly minimal amount of
paint compared to her large canvas surface, Mohamedi shows off an innate ability
to take up space in the most non-invasive way. A few motion-filled strokes and
shapes give the piece a melancholic sensibility.
Maintaining cohesion in large group shows can certainly create a challenge for the
curator. Calverley herself called it a “formidable task,” and goes on to say that “in
this case I am delighted with the result.” Vetter’s attentive approach is undeniable
and a part of what gives this exhibition the sincerity it exudes.
Abstraction in the Singular
Through April 15
Bentley Gallery
www.bentleygallery.com
Mark Pomilio
CB.5, 2015, oil and charcoal on linen
44h x 88w x 14d
Christopher Kuhn
Acapulco Gold, 2016, oil and acrylic on linen
55h x 67.25w
Bill Dambrova
BiOde, 2016, oil and acrylic on canvas
96h x 84w
Travis Rice
Dismantled, 2016, acrylic, vinyl, pumice on canvas
88h x 66w
JAVA 19
MAGAZINE

The Dressing Room
Micro Dining on Roosevelt Row
By Sloane Burwell
Roosevelt Row is going through a bit of a transformation. Some of it
is pretty great, like having a walkable downtown with more than one
business that is open. Some is not so great, with favorite local spots
being gentrified and priced out of existence. In the middle of this
existential crisis comes The Dressing Room.
This aptly self-described “micro restaurant” is the second venture from the team
behind Be Coffee + Food + Stuff. Located inside monOrchid, The Dressing Room
is shockingly tiny. Without the charming spillover patio, I’m quite sure I’ve fit
more people in my car than can sit inside. If you up the ante and add the bar, we
have barely hit double digits. From any part of the interior no conversation goes
unheard. After my repeat visits, I’m quite certain I know everyone’s business—
patrons and staff. There are no secrets here. To sit inside is to hear everything,
and for me, that is a good thing. Fans of privacy should sit outside.
But this is part of the charm, as is the menu. The odd piece is where they get
their inspiration. Nothing cements a concept having jumped the proverbial
shark more than when it appears in print. I can safely say that this is the first
restaurant I have been to that cites menu influences including both carts and
food trucks. (Streets and beaches, too.)
First off, I must commend The Dressing Room on the improvements they have
made during their short life. On my first visit, the excellent Fries with Three
Sauces ($3) really only had one of note, the amazing malt aioli. The previously
mediocre avocado crema is now excellent, and their spicy Russian is vastly
improved. And that malt aioli is amazing. The umami flavor is 11 , and it
maintains a brightness from the acidity. On one visit our server indicated that
they vastly underestimated the success of said malt aioli and now make it by the
vat. They should consider bottling it. I would be first in line to buy it.
The compelling Tostada & Ceviche ($6) is a kicky mix of citrus-cured fish, not
quite enough to share but more than a nibble. The thick, salty tostada never
loses its crunch, which is essential since it replaces silverware.
Not to be confused with the Peruvian Ceviche Salad ($10), which is an entirely
different concept and, apparently, dish. I think The Dressing Room should punt
the tostada version and stick to this one. In my view, it’s the most special menu
item. Loaded with sweet potato chunks, perfectly brined fish, hominy and
Peruvian corn, this tasty and interesting creation isn’t one easily replicated, and
it is a great indicator of the highs a small place like this can achieve.
The Korean Yakitori ($9) is a near miss. There is nothing Japanese or Korean
about this dish. Well-prepared but mild chicken comes on top of an excellent
Asian slaw, made better by pouring the Thai-inspired peanut sauce (that comes
with it) on top. It’s good enough, but the name lends itself to expectations the
dish can’t deliver. I would happily eat an entire bowl of the slaw/sauce combo, but
on their own they need some help.
The Classic Burger ($9.50) is an excellent burger, served on a tasty toasted English
muffi n, with more of the excellent fries. I’ve enjoyed lesser burgers for more money
all over town. My only issue is with the plastic diner basket it is served inside.
Handmade burgers are delectable, juicy messes. The muffin holds up to these
juices, but a flat-bottomed plastic basket gives you no escape from the pooling
juices, and mitigates the benefit of the heft of the English muffin. Your only recourse
is a knife and fork and 300 napkins.
I loved the All Day Burrito ($8), a tasty tangle of hash browns, Tender Belly bacon,
avocado and eggs. This is where that side of the aforementioned avocado crema
comes in handy. Sure, it’s gilding the lily, but it takes it from yummy to oh my god.
I’m hopeful that The Dressing Room’s willingness to improve as they go will be
true for the dessert selection. I have no issue with a small menu; to me, it’s a great
indicator of a kitchen that understands that you can’t have 100 dishes and have
them all be fresh or executed well. But one dessert option seems stingy. I know that
ice cream sandwiches have taken hipsters by the culinary hands, and our server
was no exception, based on his reaction. But the Churro Ice Cream Sandy ($5) isn’t
a winner. The churro isn’t made to order, so it doesn’t come to the table warm. That
means by the time it is served, the churro has started to freeze and, as a result, is
impossible to cut with a steak knife. And if you can’t cut it with a steak knife, you
certainly can’t bite into it easily or effectively.
Our server noticed we were struggling and indicated this dessert wasn’t meant to
be shared. Is there any dessert NOT meant to be shared? To me, any churro not
served fresh and warm is a crime against cinnamon-sugar-coated deep-fried dough.
This should be an easy enough fix—nix the dish or find a way to serve the churro
fresh out of the fryer.
While Roosevelt Row gets more fancy, I’m prepared to see more upmarket, expensive
spots in that neighborhood. This is one of the reasons I am happily surprised by The
Dressing Room—nothing on the menu cracks $11, and the charmingly tiny interior
and adorable back patio you don’t expect to see add up to a place that is more than
the sum of its parts. I’m confident that they will fix the churro situation. Until that
happens, I’ll eat $3 baskets of fries dunked in delectable malt aioli.
The Dressing Room
220 E. Roosevelt, Phoenix
602.777.0763
Sunday to Thursday 11 to 11
Friday and Saturday 11 to 12
JAVA
MAGAZINE
21

utograph

Concept and styling: Shimeon Mattox
Photography: Tajji Sharp
Models: Juan Marcel Rivera and Ali Aungst of
Ford RBA, Fiona, Shimeon Mattox, with Simmons
Blake and Barbra Lynn Rogers (pink ladies)
Hair: Samantha Stewart
Papparazzi: Juan Lonza
Cinematography: Miguel Angel Valenzuela
Clothing: Royal Black Sheep, Autograph Collection

SUNDRESSED
A Little Less Put Together
By Mitchell Hillman
30 JAVA
MAGAZINE

It’s been a privilege to cover every release
of a band in the same magazine for half a
decade. I saw great promise in Sundressed
before they released their debut EP, catching
them live at Long Wong’s at the Firehouse. That
was followed by a stunning full-length album
called Whiskey With Milk in 2013. Both of those
early records are out of print and hard to find,
but worthy if you want to understand just how
far Sundressed and the musical vision of Trevor
Hedges have come.
The twin efforts from 2015, Dig Up a Miracle
and The Same Condition, signaled the “golden
age” of Sundressed, which continues to this
day. Hedges seems to have it sussed, and the
only person he’s ever competing with is himself.
Consequently, each record gets better, more
authentic and more original. A Little Less Put
Together is the apex of Sundressed’s trajectory
that started five years ago.
Sundressed seemed to kick into its current
mode once Forest Walldorf joined up with
Garrett Tretta and Hedges. It’s the lineup
that’s produced a consistent flow of records
for the last two years. A Little Less Put
Together is the result of the hard work and
focus of that dream team in the studio. It turns
out the record is nicely timed for these angsty
times. Never discount the power of weasel punk
to set you free.
While Sundressed is definitely punk, it’s always
debatable if they are more pop punk, emo or
some other sub-genre, which why I stick with
their self-proclaimed “weasel punk.” That said,
the album opener, “Of Course,” is so musically
filled with sunshine pop that it’s difficult to
deny that they have hooks for days. There’s
almost a surf vibe to it, which is a bit of a twist
for them. Still, it’s so catchy that your mind
will start making a video as you listen. It’s
like an afternoon skating on the Venice Beach
boardwalk, but made into sound, and a damned
exciting way to kick off the record.
By the second song, you realize why it felt like
Sundressed was hiding away all of last year:
because they were perfecting this record. “Mill
Ave. and Broadway” begins with a charming,
chiming guitar. It’s clear that Hedges is creating
an album from the heart, as much about energy
as it is about beauty. With the sound of a busking
guitar and a street-bad beat, there is a vitality
to this peculiar number. Unlike a lot of
previous songs from Sundressed, the lyrics
come to your consciousness later, because
the music is so overwhelmingly composed
and arranged—the trumpet found here during
the bridge, for instance.
Somehow “Frankford” feels like more familiar
Sundressed territory, but simply produced to
the level that their songwriting demands. Here
the lyrics of a romantic breakup come to the
forefront, along with the emotion of the music, as
Hedges confesses, “I’ve never lived alone.” It’s a
brilliant synthesis of a moment most people have
been privy to in their life.
“Lime Light” features vocals of Charles Barth,
from Saddles, fresh off releasing their finest
album to date. “Lime Light” was this year’s
advance single for the album release, and it
definitely left fans, old and new, impressed
with the direction the band is heading in. Here
it doesn’t seem as shocking; instead, within
the context of the album, it feels right at
home—brilliant high-energy pop that owes as
much to punk as it does to 1960’s pop.
The title track begins with a crackle, Hedges’
vocal and a distant reverb guitar. As it builds,
it feels like a microcosm for the entire album,
impressing the listener with a signature sound
that doesn’t ape anyone else. (Their influences
are long since consumed and digested.) This
album is the synthesis of all they’ve done
before—all the records and all the tours. It takes
the brilliance of the title track to finally drive this
home, nearly at the halfway point. The irony with
A Little Less Put Together is that Trevor, Garrett
and Forest have never been more put together, in
terms of sound.
“Auto Pilot” was the sole single from this
album released last year, and carried with it
one of the best videos, with various cameos
throughout. Still, had you asked me last
year what the album would sound like, with
this as my only reference, I would have said
Sundressed had made their pop-punk dreams
come true. That’s not the case—they’ve made a
much more artistic statement.
Still, at the time, “Auto Pilot” carried a
production value that was impressive. It now
seems quite representative of the record’s
overall sound. Then there’s the garage rock
of “Highlights,” which is a bit like a nostalgia
piece with a desert-surf vibe. It’s got an
alternative nerd rock thing going on, no matter
what you call it. There’s a bit of John Hughes
yearning in there, along with disco harmonies
that are slightly surprising.
The clever title of “Feelings Mart” aside, this
song comes on like an ode to shoegaze, right
up until the vocals kick in. No complaints there,
but I wasn’t expecting any darkwave hints on
this album at the outset. Once the vox kicks in,
the guitars take a more angular approach, and
this is Sundressed pulling through an exercise in
post-punk, whether intentional or not. They wear
it well, and that feeling ebbs and flows, with a
fascinating overarching composition in terms of
sheer architecture.
“Until We’ve Got Nothin’” kicks off in an unusual
manner that suggests Americana, but it doesn’t
stay that way. On the other hand, it comes off
every bit as punk as Talking Heads and emerges
as one of the more charming songs on the
album—a touch out of place, with a hint of
musical daring and a juxtaposition that works in
the end.
The raving guitar that kicks off “Gentle Giant”
is a bit of a startle, and the riff sounds more
like KISS at their height or Cheap Trick at their
hardest. Either way, this is a rocker that slays
but sticks to pretty traditional territory, which
is a surprise in itself. Get this to rock and
hard rock stations immediately. I know it’s not
Sundressed’s usual market, but they’ll eat this up.
Even the finale, “Something Good,” feels like
a college-rock anthem in waiting. It is as close
to My Chemical Romance as Sundressed ever
gets. There are so many forces at work in this
song that it leaves your heart soaring. It’s a
magnificent finale. This was the Sundressed
album I had been waiting for.
Sundressed will release A Little Less Put
Together on March 16 at The Rebel Lounge
with Saddles, Eclipses For Eyes, Way Under
and Trent.
JAVA 31
MAGAZINE

DAISY
Beauty of These EP
THE WOODWORKS
Au Naturel EP
UPSAHL
Unfamiliar Light EP
DAISY took their time following up their 2015 debut,
In Retrospect. At long last, Beauty of These has been
released on the heels of two preview singles, “Hear
You” and “Feel.” The singles kick off the affair and
set the mood, creating a breathtaking introduction
to the soundscape. It’s a whole lot of alternative pop
that matches with Two Door Cinema Club or Bastille
quite well. Both tunes have been getting local radio
airplay, and with good reason—DAISY is radio ready
for the alternative airwaves.
“What If I Was” is probably the next single, and
it has an exciting dynamic that is reminiscent of
their live show, while “Are You Feeling Loved” is
an uplifting anthemic ballad, with a bit of alt-rock
pacing that is low key and effective. It’s hypnotic and
seductive and is a welcomed break from the back-toback
singles opening the record. It may be their finest
moment musically speaking.
“If I’m Telling The Truth” is a total shift in gears,
dark and self-reflective, vulnerable and devastating
in its delivery. “Dawn” is a breath of fresh air after
the harrowing ride preceding it, and it’s downright
beautiful pop. If it’s not a single, it’s certainly
a showcase for the beauty and versatility of
Anthony Perre’s vocals. I imagine there will be
a deluge of videos for these tunes in tow, or at
least I’m hoping so. On their second record, DAISY
maintains focus and definitely sets a trajectory
toward more hit-oriented territory. See them live
for a brilliant introduction.
The Woodworks have been one of the hardestrocking
and hardest-working indie bands in town for
many years, with three full-length albums. Au Naturel
messes with that formula, being their first EP and a
fairly acoustic affair. Due to its more delicate nature,
this record becomes a showcase for lead singer Solo
Lounsbury’s vocals.
“Anthem of a Complex Creature” is the opening
track, and all it takes is the fiddle work of Kevin
Wiscombe to make Lounsbury’s guitar, Konstantin
Bosch’s percussion and Steve Beer’s bass instantly
sound like gypsy rock to rival Gogol Bordello.
This has always been kind of hinted at on other
records, but they totally go for it here. The downhome
dirge of “Draggin’,” from 2014’s Safe Mode,
feels like a modern take on “In the Pines” here,
with the mood it creates and the layers of sound.
Meanwhile, from that same album, “Oxytocin” gets
the jazzy funk treatment it’s always deserved, with
Kyle Woo of Banana Gun delivering some seductive
saxophone throughout.
Au Naturel concludes with “Rollin’,” which starts
as a percussion wonderland before it reaches
vocal nirvana—featuring most of Manic Monkeys,
with Mike and Tiffany Hilstrom and Joel Ekdahl, in
addition to Japhy Ryder, Danger Paul and Anthony
Fama. It’s essentially a Tempe indie rock revival choir,
or at least it sounds like one. This is an exquisitely
Arizona-drenched track that approaches authentic
desert rock. On this four-track gem, the Woodworks
prove that they can do whatever they want with
whatever they’ve got—whether as electrified rockers
or down-home gypsy dancers—and the results are
always compelling and addictive.
Sometimes an artist’s third record becomes known
as the “departure point,” and this seems to be the
case with Taylor Upsahl’s stunning Unfamiliar Light
EP. It turns in a more alternative direction, while not
entirely leaving the singer/songwriter’s signature
behind. On this record, Taylor Upsahl goes simply by
Upsahl and is backed by a full band featuring Dale
Goodman, Anthony Germinaro, Rachel Rinsema,
Dylan Spitler and Ryan Upsahl.
The stunning vocals are about the only familiar thing
here. Otherwise, it’s the intoxicating rhythms and
dizzying guitar that explodes from “Digital Papers”
that lets you know that Upsahl is exerting creative
vision. “Everlasting Trip” has an almost surf-rock
vibe to it, with a Spector wall of sound effect at
work here. “XVII” is a serious piano instrumental
with classical overtones throughout its 84 seconds,
the title celebrating Upsahl’s age. It leads into
the cleverly titled “Good News for Bad People,”
the centerpiece of the record and one of its finest
compositions. Between the mesmerizing piano line
and Upsahl’s easy-on-the-soul vocals, it’s easy to lose
your place in time during this one.
“Miss Leader” is a softer, acoustic number and
a little more familiar territory for Upsahl’s voice.
“Rotations” picks up the pace with a guitar line that
Johnny Marr might be jealous of, even though it has
a bit of Southwestern twang to it. There is an Arizona
highway vibe built into this tune, which should
probably be licensed to David Lynch immediately.
The EP finishes with “Overdrive,” a quirky acoustic
number, but with a haunting arrangement. This record
is a turning point for Upsahl, and it will be interesting
to see what’s next.
32 JAVA
MAGAZINE
Sounds Around Town By Mitchell L. Hillman

MR. MUDD & MR. GOLD
Mr. Mudd & Mr. Gold
GIMPHEART
The Gimpheart Tapes, Vol. 2
THE RICKY FITTS
The Great Beyond
Mr. Mudd & Mr. Gold have been working on this
record for three years, and it was worth the wait.
This was the last record that the late Dan Somers
(Lisa Savidge, Audiconfusion) worked on, and it
benefited from his presence. 2015’s single, “Killing
Floor,” was the first indication that the album was
even coming, and still another year passed. At long
last, the music is finally seeing release despite many
trials and travails, which is a story unto itself.
Mr. Mudd & Mr. Gold is Jesse Gray and Tyler Matock,
and they put out some of the best Appalachian
revivalist folk music I’ve heard since Chickasaw
Mudd Puppies and Flat Duo Jets. Amid some amazing
obscure covers, like the aforementioned “Killing
Floor” by Howlin’ Wolf and Lightnin’ Hopkins’ “Bad
Gasoline,” “Rex’s Blues” by Townes Van Zandt and
Bascom Lamar Lunsford’s “Mole in the Ground,” are
some phenomenal originals.
The combo opener, “You Never Loved Me,” followed
by “Ain’t That Bad” and completed with the
locomotive pace of “Goodbye Mama,” is one hell of a
way to kick off this anachronistic record. This album
was produced in such a way that it could pass for
radio chamber recordings from the 1950s, which suits
the material perfectly. This feels like it’s designed for
front porches, rocking chairs and whiskey, families
playing along with washboards and hand jive. You
get the idea. A lot of people can do this kind of
music, but Mr. Mudd & Mr. Gold take the time to
channel the spirits of the past that they’ve exorcised
and worked for the benefit of all.
Last year, The Gimpheart Tapes, Vol. 1 showed
amazing potential with a lo-fi release showcasing
brilliant songwriting. Gimpheart has made a
quantum leap on The Gimpheart Tapes, Vol. 2.
This music could be just as handy for meditation as
it would be to get high to or simply enjoy, like pop
tunes from another planet.
“Rotten Egg Hot Springs” is the opener—a
psychedelic sitar-drenched song to mess with your
head. I’m not sure this music is safe for driving, a
sentiment reinforced by the unsettling dizziness
of “Cheers to This Feeling,” which has a certain
danceability to it. It would be popular on the astral
plane or campsites at Coachella. Though mostly
recorded to a Tascam, this volume has sorted out
any previous sound issues. The calliope madness
almost goes too far, but Gimpheart seems to know
the extent of his reach and lands you softly, right
into “Wonderful.” It’s synth electro pop at the most
sincere, reductionist level and fascinating for being
exactly that for a catchy three minutes. Too indie rock
to be dance pop, too dance pop to be indie rock.
“No Applause for the Drones” seems composed
mostly of arrangements of drones—a foray into
noise rock, with a touch of ghoulish horror movie
organ work. Meanwhile MC/DC bring some raps
to the indie pop charm of “Sad Songs are Playing at
My House.” It’s a bit like early Modest Mouse if they
had all gone to art school. The only thing that tops
its groove is the grand finale of “Seeing You at the
Bottom of the Ocean,” which is a modern-day pocket
symphony. At this rate, Vol. 3 is going to change lives.
What was originally planned as an EP has somehow
become a full-length debut. After pushing out a
couple key singles last year, this 13-track record
came as a surprise, but a welcome one. The Great
Beyond is alternative pop in all of its many shades.
Instead of milking this into two or three EPs, it
may have been best just to get it all out and start
writing more while the groove lasts. There is no
shortage of singles here, and this debut could
probably last them a year or two, but with this kind
of ambition you never know.
Even if you take last year’s “Nightmare” out of the
running, you’ve still got “Back to the Basics,” “Where
to Begin” and “Got Me (Rollin’).” It’s a pretty fantastic
debut, yet it doesn’t effectively transfer the energy
and gutsiness of their live show. There is no doubt
that the triptych conclusion to The Great Beyond is
the finest sequencing on the album, but live on stage
it simply has a greater impact.
Nevertheless, “NTFL” and “Closer 2 U” are more
singles to be had. It’s difficult to say if The Ricky
Fitts are going for a revival of New Romanticism
from the ’80s or if this is a genre exercise. It’s still
a most likable record and an expansive release.
Luckily, they’ve got a craft for perfect pop songs, so
the album is succinct and engaging enough to keep
you interested from beginning to end. This is only
the beginning for this young crew, and it’s one hell
of a start. This is a band whose evolution will be
interesting to watch.
Sounds Around Town By Mitchell L. Hillman
For more on these events and other highlights of
the Phoenix music scene, check out Mitchell’s blog
at http://soundsaroundtown.net. For submissions
or suggestions contact him at mitchell@
soundsaroundtown.net
JAVA 33
MAGAZINE

BEADLE RESURRECTION
Al Beadle New Build in Palm Springs
// By Effie Bouras
34 JAVA
MAGAZINE

Very many years ago, while visiting the Three Fountains condominiums
in Phoenix, I had my first somatic experience with what is referred to as
“desert modernism.” Having lived in Las Vegas prior, my exposure to this
architectural typology had been brief, as I was largely preoccupied by
“architecture as roadside attraction,” as art critic Dave Hickey once decreed, verities
of sign as architectural form, oozing through the bogus sunset.
I will be frank, though; I did not realize it was an Al Beadle at first. But aside from
my transient obliviousness, Three Fountains represented much of what I imagined
an authentic architectural form arising from the desert sands of the Southwest
to be. To my gaze, this stark building of muted coloring was entirely composed
of lines and shadows, cut with such an exact precision that nothing looked real,
and it was perfect.
The desert is often represented by a harsh angularity of surface, mirrored by the
landscape it contains with all of its seemingly stark simplicity. However, this
representation is quite basic, as it conceals the incredible complexity that lies
beneath. While some architects during Beadle’s time were preoccupied with
reconfiguring the desert into a form reminiscent of other geographic zones,
Beadle was engrossed with developing an authentic architecture that responded
to a true “sense of place,” complementing the desert’s natural beauty, rather
than suppressing it. Through his skillful nature, what is seen as severe and
angular is maintained but refined by a responsive architectural program. Light is
captured, controlled and reflected, crafting and framing the building in both its
absence and presence. The native landscape is retained and serves to augment the
architectural premise.
Beadle’s honesty is reflected through his perfection of building as craft, endearing
his influence and legacy over time, as proved from the fervent following he has
gathered, even long after his pencil last touched the drawing board.
THE PALM SPRINGS EFFECT
Growing up in Palm Springs, builder Mike Yakovich never dismissed the value of
the area’s unique treasure trove of mid-century modern architecture. Appealing to
his sensibilities, it because the focus of his diligent crusade, as did, specifically,
Beadle’s work. So when the opportune moment came, and armed with an arsenal
of construction experience within the genre (including work with Don Wexler on
his last steel project), Yakovich, in collaboration with Beadle’s widow, Nancy, and his
associate Ned Sawyer, conspired to once again bring Beadle’s pencil strokes to life.
Knowing that resurrecting the much-loved rectilinear idiom that Beadle perfected
could prove potentially disastrous, when architect Lance O’Donnell was first
approached for help by the team, his answer was an unequivocal no. With a long
history of mid-century restorations and remodels for names such as Wexler, Cody
and Frey, O’Donnell is quite familiar with the era and, in fact, an aficionado.
O’Donnell’s reluctance eventually gave way to acceptance, upon realizing that
his initial philosophical aversion to recreating the work of an icon—one whom he
deeply appreciated for paving the pathway of future modernists—was matched by
Yakovich’s genuinely deep affection for architecture. Because of this, O’Donnell
felt compelled to sit under the proverbial sword of Damocles and fully commit
himself to bringing the unbuilt Beadle to Palm Springs.
He relays how important it was to have Ned Sawyer’s direction and Yakovich’s
commitment: “We had architect Ned Sawyer, Al’s associate, to guide us along the
way. This proved invaluable to moving the process forward with confidence. This
project would not have been built if it were not for Yakovich’s steadfastness or
love for that home. He had a vision, and through his own sheer will helped us all
walk a path to realization,” says O’Donnell.
JAVA 35
MAGAZINE

RESTORATION FANFARE
O’Donnell recalls that when he started practicing
architecture, there was a renewed sense that Palm
Springs had an important stake in the annals of
architectural history. Preservationists led this effort
by rebuilding and reestablishing the importance
of iconic buildings, learning from their successes
and failures. The “Kauffman effect,” referring to
the well-known Kauffman renovation of a Richard
Neutra house in Palm Springs, helped illustrate that a
sensitive approach, adhering to the original character
and intent of the building, was feasible.
For the unbuilt Beadle, however, current building
code restrictions, in combination with modern living
sensibilities, proved challenging to adhere to without
tweaking the plans. Sympathetic to certain societal
proclivities with respect to how people presently
dwell, O’Donnell accommodated as needed. For
example, the kitchen was on the original plans as a
minute appendage of a much larger space and placed
off to the corner. O’Donnell instead included it as a
prominent part of the loftier open-concept main living
space. During the mid-century, kitchens were not
so liberally accommodated. O’Donnell relates, “If Al
Beadle were alive today, he wouldn’t have placed the
kitchen where he did in the ’50s and ’60s.”
The site itself was purposefully chosen, balancing
the ideal mix of light and wind, maximizing views
and balancing geometry with the natural landscape.
This heady symbiotic relationship between the
elements situated the house on a familiar axis, with
expansive windows at a southern and northern
orientation and minimal glazing on the east and west
sides, which would receive the bulk of the intense
summer heat. Composed of a delicate balance of
expansive glass façades, exposed structural steel
and concrete, this material palette was indeed
de rigueur of what one would come to expect of a
Beadle. In contrast, the velvety corten steel panels
depart from this, fashioning a unique twist that
simultaneously updates the look and speaks to the
desert surroundings by mirroring and abstracting its
reddened pigment.
Typical of Beadle residences, the landscape is tied
closely to the geometric detailing of the building itself.
Often this would include any accessory “objects,”
forming an extension of the main house—most
commonly, pools. Aware of this, O’Donnell was not
enthusiastic about the prospect of visually detaching
the pool from the house, but he and Sawyer were
profoundly aware that the site, and where they had
placed the structure, wouldn’t allow for a direct,
inclusive relationship. Here, landscape dictated the
placement of this element, breaking away from Al’s
customary orthogonal processes; situated at an acute
angle from the house, creating a less than ideal
relationship between the two major elements.
The greatest trial yet came when harmonizing the
design that put a premium on supple proportions
and a strong connection to the outdoors via floor-toceiling
glass, while providing a system that would
meet stringent structural requirements, as demanded
by the home’s proximity to the San Andreas Fault,
some four miles due north. A more robust structure to
address any concerns was provided, while retaining
the form’s horizontal linearity.
Resistance to raising the ceiling, conversely, proved
more difficult. From O’Donnell’s perspective, the
house is not merely a composite of floors, walls and
a ceiling, but rather a collection of three walls and
an outdoor space. He relied heavily on this principle
when defending the original plans. Although the
experience when one is inside the Beadle space
would justify this, many homeowners and builders
habitually rely upon a common trope that higher
ceilings translates to a more spacious appeal.
“I urge those who feel this [way] to just come in and
experience the space. A nine-foot ceiling is going
to feel every bit as generous and expressive in Al’s
design, more so than a higher height, in a closed box,
with a few punched-out windows. Don’t discuss this,
just bring them in the house and let them experience
it,” said O’Donnell.
From looking at Beadle’s archival drawings, you
can tell that he struggled with the predicament of
balancing form and structure, personally. In fact, one
scheme developed for the house utilizes a cantilever
system, which is most interesting to O’Donnell.
Beadle was proposing to appropriate a cable-stayed
structure (commonly found in bridge design) by taking
the four main structural columns up through the roof
and cantilevering the building, thus allowing the floor
framing to be elegantly waif-like. O’Donnell comments:
“That is not a design direction we took. But if we
ever do this again, it might be another possibility
to try, because we could take more structural
economy out of it. His archive had both—the one we
applied, and the other one that was more daring and
interesting. Maybe that would be an Al Beadle 2.0.”
Photos courtesy O2 Architecture
Effie Bouras is a sometimes wordsmith, but mostly
an engineer with an architecture penchant, and
has created a traveling exhibit about both titled,
“Considering the Quake: Seismic Design on the Edge.”

GIRL ON FARMER
By Celia Beresford
I was mowing my lawn in the dark this evening and
a big rock hit me in the leg. The rock just flew out the
back of my electric mower. I have feared this kind of
thing for many years. Here I am, innocently mowing
the lawn, trying to be neighborly and cut my weed
fi eld into a semblance of a yard, and boom! Some
random projectile flies into my eye and that’s that.
Down from two eyes to one. Just like that.
Since I couldn’t fi nd the headlamp, I wrapped a
freshly charged string of solar lights around me for
guidance. It seemed like the smart-person thing to
do, but it was still kind of dark. The next bright light
came from something I ran over that made a big
spark. I was scared to keep mowing. Not for some
rational reason, like “this doesn’t seem to be very
safe.” Instead, I was concerned that I had spent so
much time thinking about the injury of a projectile
that I was now tempting fate from said projectile
gods. In fact, I was so scared that I almost didn’t tell
you about it, in case the universal overseer of flying
things could hear me or read my thoughts. Or the
rock or twig, or whatever it is, knows I am avoiding
it. I’m thinking, great, I’ll write about this, then the
underground league of flying things will hear about it,
and next week I’ll get speared in the eye by a falling
twig or a rabid bird with excellent aim. (Note to self:
do not leave house without safety goggles.)
I am actually terrified writing this right now, but I’m
not sure why. Well, I know why, but it’s ridiculous,
because what happens and whether or not I
mention it will not affect anything. Right? So you
think! Call me superstitious, I guess. No, really,
do call me that, because I am. In college I was
convinced for two years I was hexed. Even before
that I was always concerned with black cats, big
fl ocks of birds, walking under ladders and that sort
of thing. Scarecrows—no thanks. Laugh at me now.
Just be careful when they pop out of the cornrows
and climb into your bedroom window.
My fear of non-human things being able to read my
mind and/or inflict their will on my life got an early
start. In seventh grade I slept over at my friend Zara
Stone’s house. Earlier that day, her mom had told
me about a bat that had it in for her—I mean a bat,
like the mammal. What happened was, earlier in the
38 JAVA
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I was concerned that I had spent so much time
thinking about the injury of a projectile that
I was now tempting fate from said projectile
gods. In fact, I was so scared that I almost didn’t
tell you about it, in case the universal overseer of
flying things could hear me or read my thoughts.
week, Liv, Zara’s mom, had shooshed a bat away from the yard, afraid it would
roost in one of their hollow trees. Liv sensed that the bat was not happy with this
and was out for revenge. The more she thought about the bat doing cruel and
creepy things—like getting its little claws caught in her hair or taking a bath in
the toilet—the more she was sure it would happen. The bat sensed it. She kept a
vigilant look over her shoulder and made sure to close the door.
Her children, Zara included, mocked poor Liv. So, maybe their insolence provoked
the bat even further. That night when Liv came home from work, she heard a little
cheeping sound in the bedroom. When she peeked in, the bat was in the corner.
But it wasn’t flying or roosting or doing bat things, it was just standing there.
Liv freaks out and closes the door screaming and trying to figure out what to do.
Zara, her sister and brother run into the living room while their mom is pointing
at the door yelling “Bat! Bat!” Now, Liv has been known to have a few cocktails,
but it was a little too early for the bat apparition to be blamed on booze. Still,
Zara reassured her mom the bat was not in there. It was all in her mind. This is
when the scritchy scratchy noise started.
A bat’s claws will not make a sound on fluffy carpet, which was exactly the
flooring situation at Zara’s. But they will scritch-scratch when they are clawing
the door. Especially when they are doing a smooth pancake breakdance move
to sneak out from under the door. This is what the Stone family told me. They
all swore that they saw the bat slide under the door and walk out into the living
room. Once he made it out from under the door, he had an attitude. He had a
Frankenstein-ish walk, with his wings out, and he kind of dipped from side to
side, almost as if he were tip-toeing.
It sounds unbelievable. But they swear it’s true. In fact, they all swore separately
and independently. We were in seventh grade, so you know I made them swear
all over the place, on everyone’s life, grave and future lives. I believe it. That bat
knew what he was doing. And I’m not just saying that in case the bat hears about
this. But if he did, I’d want him to know. (I did not laugh once at the part where
he slid under the door.)
So remember to think nice thoughts about your animal friends. And wear eye
protection when mowing the lawn. I’ll see you around—hopefully with both eyes.

NIGHT
GALLERY
Photos By
Robert Sentinery
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1. Good to see you Audrey
2. Dale and friends at Cocktail Carnival
3. Karen Jilly’s opening at Mesa Contemporary Arts
4. Snapped this cute couple at MCA
5. Portrait of the artist as a young Zucca
6. Allie and pal at Cocktail Carnival
7. Kalia and her beau at the Heard Museum
8. Phoenix Open fillies
9. Katia’s opening at {9} The Gallery
10. AZ Cocktail Week festivities
11. Radio Healer at Pueblo Grande Museum

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12. Belle and beau of the ball at Cocktail Carnival
13. Kelsey and Idy at SMoCA’s Spring Opening
14. Great hospitality from the Canada in AZ crew
15. Nicole and Cristóbal at the Radio Healer show
16. Inovo Golf babes at the Phoenix Open
17. Radio Healer performance at Pueblo Grande Museum
18. Curators Dennita (PAM) and Sara (SMoCA)
19. Getting their Phoenix Open on
20. Don Julio tequila ladies at Street Eats fest
21. Radio Healer fans at Pueblo Grande
22. Zenobia and her family at Street Eats
23. El Mariachi at Cocktail Carnival
24. Inga and pal at SMoCA
25. Radio Healer performance art muse
26. Steve and Ashley at Mesa Contemporary
27. My, what a big wine glass you have
28. Free shades and drinks at Cocktail Carnival
29. In the VIP tent at Street Eats

ARTISTS OF
PROMISE
STUDENT PERFORMANCES
AND ART EXHIBIT
ART | DANCE | FILM & MEDIA ARTS | MUSIC | THEATRE | WRITING
APRIL 27, 2017
HERBERGER THEATRE
222 E. Monroe Street, Phoenix
RECEPTION/ART EXHIBIT | 5:30 p.m.
PERFORMANCES | 6:30 p.m.
maricopa.edu/artists-of-promise-2017
Free and open
to the public
Chandler-Gilbert | Estrella Mountain | GateWay | Glendale | Mesa
Paradise Valley | Phoenix | Rio Salado | Scottsdale | South Mountain
The Maricopa County Community College District (MCCCD) is an EEO/AA institution and an equal opportunity employer of protected veterans, and individuals with disabilities.
All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, or national origin.

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30. The final show at the Allery
31. SMoCA Spring Opening Celebration
32. Lovely Mia at Cocktail Carnival
33. Ed and pal at SMoCA
34. Herradura tequila in the house
35. More AZ Cocktail Week fun
36. Fun in the sun at Phoenix Open
37. Warehouse 215 at Bentley Projects
38. Exquisite table setting at Warehouse 215
39. Funky trio at AZ Cocktail Week’s Top Bars
40. Still from Kahlil Joseph’s “m.A.A.d.” at SMoCA
41. Noir trio at Top Bars
42. Au revoir to the Allery
43. Farewell to the Allery, gents
44. Someone got lei’d at Cocktail Carnival
45. Gotta love shooting film with a Leica
46. Steven Yazzie’s “Black White Blue Yellow” at the Heard Museum
47. Alice in Funderland, AZ Cocktail Week’s Top Bars

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48. Tequila tasting at the Hotel Valley Ho
49. Damian Gomes opening at Abe Zucca gallery
50. This crew was in from Tucson for Top Bars
51. Saskia at Bryan David Griffith’s “Rethinking Fire” at MCA
52. WF Rani “g” and company at Top Bars
53. Christine and Grant at MCA
54. Margarita time at Cocktail Carnival
55. Triple threat at the Allery
56. Pretty orchid cocktails from Clever Koi
57. Joshua and co from Clever Koi at Top Bars
58. El Silenco Mezcal jacket is bombtastic
59. AZ Cocktail Week soiree at Hotel Valley Ho
60. Woo hoo witchy woman
61. I swear it was this big
62. Mélange à trois
63. Matt and posse at Top Bars
64. Gorgeous views at Phoenix Open
65. Amazing Fortaleza tequila slushy from PY Steakhouse (Tucson)

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66. Sparkling Ice, ice, baby
67. Lucky guy with a pretty blonde
68. Caesar, Margaree and friends at the Heard Museum
69. Angela from The Grove hosted AZ Cocktail Week’s Top Bars
70. Bitter and [seriously] Twisted at Top Bars
71. Angela from Museum of Walking at Steven Yazzie’s opening
72. Patrick and his lovely wife
73. Citizen Public House top men at Top Bars
74. She’s got the Museum of Walking literature
75. Dapper guys in white jackets
76. Nice pour amigo
77. SMoCA Spring Opening Celebration
78. The team from Scott & Co. (Tucson) at Top Bars
79. Cute couple at the Croft for Cocktail Week
80. All together now people
81. DJ Soloman rocked Top Bars
82. Stylish trio at The Croft
83. Best looking couple of the night

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